David Schwimmer in LITTLE DEATH, a film by Jack Beggart. Courtesy of Sundance Institute

Sundance: 'Little Death' Is a Pill-Popping, Manic Mash Up

I could not have prepared myself for the twist that comes midway through one of the most bizarrely made films I've ever seen at this year's Sundance Film Festival. The movie is called Little Death, and it follows a depressed, middle-aged screenwriter (played by David Schwimmer) living in LA whose midlife/artistic/existential crisis makes for a manic, disjointed experience.

We see that he's a screenwriter who is grappling with "selling out," having made his success from a brainless TV sitcom back in the day (the parallel to Schwimmer's actual life feels pointed). He's now going through the agony of trying to get his very personal and very non-commercial project made with that earlier work hanging over his head. The stress of countless dead ends and empty promises within a smarmy, soulless industry weighs heavily on his fragile mental state.

We hear his aggravated rants against the entertainment industry, and today's modern living on the whole, in a series of darkly comical voiceovers (making me think of Tyler Durden's rants in Fight Club). These delusional voiceovers narrate over wild–and I mean wild–computer-generated AI art, which illustrates his depraved fantasies and declining mental state. We also realize that all of this could be the effects of the medication he's relying on to battle his depression and live his life.

Without giving anything away, it's around this point that a mid-movie climax ensues, and we're suddenly following the late-night journey of two pill-addicted kids played by Dominic Fike (Euphoria) and Talia Rider (Never Rarely Sometimes Always, and this year's The Sweet East). This whole other storyline takes us on a dangerously crazy nighttime adventure that they try to survive, stemming from the unsuccessful scoring of pills (which made me think of what a very different version of Superbad could have been like).

Related: 'The Sweet East': Welcome to the United States of Anarchy

Now, I was highly anticipating watching this film (being a fan of David Schwimmer) and had fairly high hopes for this movie. But I'll be honest, I was already not loving the first half of the film. And when it took its abrupt turn into an even less interesting, more painful second act, I was quite ready to leave the film behind.

Little Death is the directorial debut of Jack Begert, a music video director who has worked with Kendrick Lamar, Olivia Rodrigo, and James Blake, to name a few. Begert attempts the very ambitious idea of making and connecting two quite different types of stories to try to make something that comes together full circle in a larger way. But it's an attempt that doesn't work at a basic enjoyment level.

Now, I will say that Begert's creative swing is a big one. Experimenting and challenging the form is integral to cinema so that storytelling can evolve (and it's great that Sundance continues to foster this type of artistry). At the very least, Begert is making a statement about some pretty important topics in today's culture: depression, addiction, and overly-prescribed medication which are necessary conversations to have.

Little Death was in part produced by Darren Aronofsky, who similarly explored drug addiction with the painfully visceral Requirem for a Dream. But Little Death is a tonal mess and really could have benefited from Aronofsky giving Begert some notes in the editing room. While the film awaits distribution, it would benefit by having some much-needed cuts lest it suffer a quiet death of its own when it releases.

1h 50m. 'Little Death' is currently awaiting distribution.


David Zum Brunnen and J. Mardrice Henderson play Paul Green and Richard Wright in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.

David Zum Brunnen and J. Mardrice Henderson Resurrect Icons

Most people may know about the prolific writer Richard Wright and his classic novel Native Son, a seminal work in American history. Lesser known, however, is that he also developed the story into a stage play, working with groundbreaking author Paul Green to do so. The process would not be an easy one, as the creative collaborators were forced to acknowledge and discuss the racism that very much divided the segregated South at the time. The story behind bringing this joint effort to the stage is dramatized in the new feature film The Problem of the Hero.

Portraying the two American icons are David Zum Brunnen and J. Mardrice Henderson, playing Green and Wright respectively. In our exclusive interview, David and J. Mardrice discuss their processes of bringing such historic characters to life and the complicated state of debate and dialogue today, as well as their experiences and challenges in indie filmmaking, of which their passions run deeply.

 

The Problem of the Hero dramatizes the story of groundbreaking author Richard Wright and Pulitzer Prize-winning playwright Paul Green as they work together to adapt Wright’s acclaimed novel Native Son into a Broadway play. What were each of your processes like for researching and ultimately creating these historical figures that you portray in the film?

David Zum Brunnen: Most everyone in North Carolina of a certain generation (mine or older) grew up aware of who Paul Green was (is), as he was quite intentional in the use of his craft, his art, toward his social justice activism. I was raised in a household where reading and a love of history were prevalent. As I grew up, and in my undergraduate studies, I couldn’t avoid reading Paul Green, and my fascination with his work and his life–the living of his life and his activism (in NC and the southeast US)–has never relented.

I’ve seen and heard recorded interviews with him. I’ve read his plays, his works, and works about him. In some ways, I feel as if I’ve lived closely with him for the last twelve years since this project was initially conceived. He considered himself a "folk philosopher." That stirred my curiosity even deeper.

 

J. Mardrice Henderson: Coincidentally enough, I was not at all familiar with Richard Wright before becoming a part of this creative process. I’ve been an admirer of the Harlem Renaissance era with an affinity for writers such as Langston Hughes, James Baldwin, and Zora Neale Hurston. I even auditioned for Native (the play written by Ian Finely that precursors The Problem of the Hero) with a Langston Hughes poem. After reading that script, I knew I had to learn more about Mr. Wright both personally and creatively.

I started with Native Son, which is as brutal as described both onstage and on film, especially for his time. I read books about Mr. Wright from some of his contemporaries. I also found some visual footage to try and infuse his mannerisms and characteristics into my performance. Mr. Wright was certainly an intellectual and a pioneer of his time and his craft.

 

David Zum Brunnen (Paul Green) and J. Mardrice Henderson (Richard Wright) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.
David Zum Brunnen (Paul Green) and J. Mardrice Henderson (Richard Wright) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.

 

Audiences have not largely seen characterizations of each of these historical figures before onscreen. What did you find was important to materialize in your characters?

DZB: I hoped to be as authentic as possible with the gift of the script provided by James A. Hodge & Ian Finley. Yes, I need to know who Paul Green was in the living of his life, what his behaviors were, his phrasing, and his "voice," but it was also important for me not to merely imitate him. Authenticity is key. We’ve been asked if these two men spoke as they do in this film, and I can confirm that they did indeed speak & write in the fashion we attempt to convey.

 

JMH: There is always some trepidation when portraying individuals who existed, especially when said person is beloved by many. There’s a pressure of getting it right, doing it well, and not tarnishing this person’s legacy. That is why research is important as well as finding where the art and the artist merge.

I was able to find similar characteristics and personality traits that Mr. Wright and I share. Both he and I have a thirst for knowledge and aren’t afraid to go against the grain regarding our passions. This, I believe, lends itself to the honesty and gravitas of a performance.

 

https://vimeo.com/786684025

 

The story, written by James A. Hodge and Ian Finley (adapted from the stage play Native by Ian Finley), largely rests on your characters shared dialogue, which explores topics about race, social justice, politics, and personal & creative agency quite deeply. What was it like for each of you to read the script on your own as well as together for the first time? 

DZB: Well, I was engrossed by Ian’s stage script and James & Ian’s screenplay from the first read. But allow me to tell the story of when we held auditions for the stage play, Native, by Ian…

Serena Ebhardt (the director of the stage play) and I agreed that I would portray Paul. We had already workshopped the play at Deep Dish Theatre in Chapel Hill, NC, and were now looking to tour it. In walked Josh, and we both knew we had our Richard Wright. It was immediate as we sat there in the studio theatre. And then we just sat there, still, and listened to Josh perform a Langston Hughes poem.

 

JMH: Upon receiving Ian’s script, after being cast, I was simultaneously anxious and excited. It’s a two-character piece with heavy dialogue, both in weight and length. And though I am removed from a lot of what Mr. Wright endured in his upbringing, there was something ancestral about his story and his experiences.

My father had told me of some of his experiences growing up in the 1960s that mirrored Mr. Wright’s experiences long before him. What I truly loved about Ian’s script is that it relays Mr. Wright’s experience without the “angry black man” trope, but a man who has been formed by his circumstances that subsequently impassioned his creative momentum. Once rehearsals started with David and Serena, all the pieces came together so beautifully. It was an instant family.

 

How did you both work on your scenes? Were there any significant moments of discovery during this making, either in pre-production, rehearsal, or while shooting?

DZB: We’d already performed the stage play while touring some East Coast U.S. venues. But the screenplay is vastly different in some respects: the rhythms, the phrasing, the setting. While we had the screenplay in hand before rehearsals and before principal photography began, the script was changing daily. So, we had new lines each morning; sometimes even as we were filming the scene. The moments of discovery never ceased actually. Everything was new, each time. The screenplay was like putting on a different set of clothes from the stage play.

 

JMH: I had become comfortable with Ian’s script after having toured it many times. However, the screenplay was different in a lot of ways. It took some time to get used to the new dialogue and beats. There were often rewrites at the start of each day of filming which kept me on my toes. Many times David and I would go off in our separate corners to grasp the new rhythms and then come back together to combine our separate work; almost like a boxing match, but without the blood.

 

David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.
David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.

 

The film was directed by Shaun Dozier. What were the larger themes and ideas that he wanted to ensure came through in the film, through your performances? Was there any particularly insightful guidance or direction you remember him giving to you that you still remember?

DZB: Credit it to Shaun (and our cinematographer, Steve Milligan, and producer, Ayana Johnson) for establishing a strong sense of ensemble and adventure on the set each day. That element was essential for both cast & crew and I believe it shows in this film–where the whole ends up greater than the sum of its parts.

Shaun’s influence is all over this film–particularly in his guiding us through the emotional journey of each character. He was mindful (when we couldn’t be) of the emotional build for each scene and what intention we brought to each moment–particularly as we were shooting completely out of linear sequence, of course. I’ll admit that for me, there were a few moments of struggle with his very fine strokes of the director’s paintbrush and his specific adjustments for each take, but they were worth it.

 

JMH: I applaud Shaun for his creative vision and for knowing exactly what he wanted to do with this piece. There were times when I wasn’t quite certain how the puzzle was going to come together, but Shaun made us all comfortable and guided us well. Each time I see the film, I am in awe of the transitions and cinematic choices Shaun made.

I also have to give accolades to our DP, Steve Milligan, and our producer, Ayanna Johnson for both their professionalism and candor. It was certainly a safe, wonderful, inspiring atmosphere which–with this being my first feature film–I will cherish forever.

 

At its center, this story is about a difference of opinion between two people. It turns into a contentious dialogue but makes the audience think deeply about each of their perspectives and histories. How do you feel the story speaks to today’s culture or disagreement and how we relate to others of different ideologies?

DZB: I find this to be a quintessentially American story. Particularly with the tenor of the times in which we find ourselves. We live in a precarious time with a great many questions of how we live and work together unresolved. We are struggling to come to terms with someone else’s perspective that challenges us to think differently, and that perhaps hints to us that there’s more for us to learn from one another. We are struggling with embracing empathy.

That said, this is a brief moment in time in the extraordinarily full and creative lives of two brilliant men from the 20th century. And as difficult as it is to see how this story unfolds, it all happens in a fashion without the need to inflict violence on one another, and without an artificially imposed limit to the number of words or characters with which one can communicate. Yeah, I’m pointing to social media when I say that, and would it be so that we could all take the time to listen and perceive as fully as these two men tried to do in their own lives.

 

JMH: One of the things I love most about this story is that, at its center, it’s a story of friendship. These are two individuals who both admired and cared about each other. Their penchant for storytelling on culture, socioeconomic structures, and injustices is what made them contemporaries. With that as the foundation, the conversation that these two men have is much more palatable than having two men of different races arguing over such issues.

These issues are just as prevalent today as they were in that hotel room in the 1940s, however, many come to the table only wanting to be heard and not listen. We live in a nation where the lines of separation are so evidently clear. There’s no cause for compassion, no enamor for empathy. We move about the world in silos where our interests are mainly self-gratifying and egocentric. I truly feel that The Problem of the Hero presents a version of ourselves that is willing to listen, to understand, to amicably agree to disagree, and to be okay with that.

 

David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.
David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.

 

What are you most proud of about this film and what do you hope audiences take away from it?

DZB: The audience response has been most telling. The post-screening discussions that have occurred at every film festival thus far. They mirror each other. And as we’ve said at each screening, we’re still processing this film and its impact ourselves.  And they’re the same conversations that occurred pre-production, on set every day amongst cast & crew during filming, during post, and on and on…

Ian and James’ writing has struck a chord for folks–particularly in light of the feedback we’re getting.  Their response has mirrored our answers above–that this is a story that speaks deeply to the times in which we live–locally, nationally, and globally. With this film, we’ve asked people to embrace discomfort. It’s clear that for many this film and that discomfort still lingers with them.

 

JMH: I am proud that I can present one of the founding fathers of Black literature to his adoring fans and hopefully create new ones as well. I have been incredibly blessed to be on this journey with the group of individuals telling this story. I hope that the audience listens to what is being said between these two literary giants. I hope they digest not just the arguments but the experiences that support the arguments.

There have been many times where audiences have agreed with one author and disagreed with the other at the start. However, as the film progresses, their allegiances sway in a different direction. This is a film that has to be seen more than twice to really grasp all that it encompasses and ultimately leads the audience to question their own bias and prejudices.

 

Let’s learn more about you both: where are you both from and how did you get into acting?

DZB:  I’m from a small town in North Carolina, called Salisbury. An idyllic place to grow up, because my parents made it so for my sister and me. But a place where life’s lessons are also plentiful. I’m a bit slow sometimes so I’m still learning some of those lessons. My kindergarten teacher, Mrs. Nell Troxler, cast me as a shepherd in the annual Christmas play. I sang a song, and then was instructed to rest on the stage floor "in the stable near the manger." I took the note.  I fell asleep, and I’ve been at home on the stage (or the set) ever since.

 

JMH: I, too, come from a small town–Ridgeway, North Carolina. It’s one of those places where you drive through, look back, and ask “Did you feel that?”. However, I never let my rural upbringing deter me from my BIG dreams. I fell in love with acting and writing early on. I remember playing a frog in a Disney-inspired production in the 1st grade. From there I began creating characters and stories on my grandmother’s front steps.

I followed that passion to the University of North Carolina at Greensboro where I received a Bachelor of Arts degree in Acting. From there, I began doing community theatre, student films, short films, and web series. I’ve been featured in the International Black Film Festival for the past two cycles. I’ve also had some of my original work featured on online platforms as well as onstage workshops.

 

J. Mardrice Henderson (Richard Wright) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.
J. Mardrice Henderson (Richard Wright) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.

 

Who are your acting heroes, and what are your favorite performances of all time?

DZB:  Besides J. Mardrice Henderson you mean? (big smile)

I always have a difficult time with this kind of question, because I feel pressured to remember all the wonderful performances I’ve ever experienced, in film & theatre. And there are a LOT. I also tend to lean to mention those I’m working with at a given moment, as I always find myself learning from those I’m playing opposite.

There are numerous actors here in North Carolina and the Triangle region here in NC from whom I’m always learning.  One of ‘em is in the film: Derrick Ivey. Derrick can do anything; any role. I’ve said it often; he’s a remarkably gifted artist in many respects, not only as an actor but as a director, designer (a farmer, too!), you name it.

 

JMH: Oh, there are an abundant amount of actors/performances I admire. Denzel Washington in Glory, Morgan Freeman in Lean on Me, Viola Davis in Doubt, and Whoopi Goldberg in The Color Purple, just to name a few.

Gosh, from this list, seems I need to watch some more comedies. I also really enjoy working opposite great actors who are in the moment with me and can elevate a scene beyond what’s in the script. I truly enjoy working with David in every iteration of this script. Our bond has both big/little brother elements as well as mentor/mentee. I believe that is why so many of our performances have been met with such great accolades. Our personal and professional relationship aids my performance with aplomb.

 

David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.
David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.

 

We would love to hear more about your experience working in indie filmmaking. What has been your experience working outside of the studio system, both positive and negative? Do you have any wisdom or lessons learned along the way that you can share with up-and-coming artists?

DZB: As an ensemble, the core creative team had the opportunity to make the film that we wanted to make. At the same time, I can’t count the number of times we’ve been dismissed; the shrugs, the "so what’s?" that we experienced in getting this film completed. I think that’s a pretty universal experience for many filmmakers. And it’s happened with practically every project our company has ever taken on in its twenty-five-plus years now.

The audiences that have seen the film thus far and the critical response hint to us that our diligence paid off. In other words. I say to our fellow storytellers… stick to it, keep at it. And know that your work is important; it’s essential. Never forget that.

 

JMH: This is my first foray into filmmaking of this caliber. I have been a part of filmmaking on a smaller scale, mostly as a talent. Even at this level, I have learned that tenacity is a tool to keep in your metaphorical bag. There are thousands, if not millions, with similar dreams who are more than willing to take your place. However, they can’t bring what you bring to the table. There’s an innate ability in each of us to be authentic in our quest. And that authenticity can’t be forced, only celebrated.

There are two adages I hold dear: “What’s yours is yours” and “Be yourself, everybody else is already taken."

David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.
David Zum Brunnen (Paul Green) in Shaun Dozier's THE PROBLEM OF THE HERO. An EbzB/WhyNot Theatricals Film Release.

 

What is it about acting that keeps you going?

DZB:  Curiosity. Fear. Opportunities to learn and put myself in the shoes of others. Fear is something I’ve come to embrace over time in my life.  It’s a great motivator for me, and there’s always fear that comes for me while leaping into a place where I’m reminded of how little I know.

I was raised in an environment where vulnerability is strength - and I still find that to be true.  That’s what acting often is for me. I think any creative action is that for me…. embracing the fear and the fun of the unknown, and letting it be your friend.

 

JMH: Acting is cathartic. It has truly been my therapy in some instances. I am very much an introvert and a staunch protector of my feelings and emotions in real life. However, when onstage or on screen, I can throw aside those idiosyncrasies and allow myself the joy of being open, being honest, and being vulnerable.

I am also a self-proclaimed “forever student” and acting is the forever study of the human condition. It has allowed me to learn more about myself as I learn more about others. If fame comes, that’s a bonus, but it’s the development of the craft that brings me the most joy.

 

Follow David Zum Brunnen through his production company on Facebook, Instagram, Twitter, LinkedIn, Vimeo, and their site.

Follow J. Mardrice Henderson on his LinktreeFacebook, Instagram, Twitter, and his site.

Follow 'The Problem of the Hero' on their site.


Flora (Eve Hewson) and Max (Orén Kinlon) are a Dublin-living mother and son who discover the music inside themselves in 'Flora and Son,' a film by writer-director John Carney. Photo courtesy of Apple TV+

Musical 'Flora and Son' Is Heartfelt, Foul-mouthed, Feel-Good Fun

 

Writer-director John Carney's crowd-pleasing movie musicals are similar to the infectiously catchy pop songs that soundtrack them so spectacularly. His movies, like the songs he helps write for them, celebrate the human spirit in heartfelt, emotional, and uplifting ways. However, underneath their charm and feel-good surfaces also lies a deceptive, painful truth that Carney can't help but fixate on: humans long to connect, despite not knowing how to communicate with each other. As his latest film Flora and Son (now streaming on Apple TV+) shows, sometimes the universal language of music is the only thing that can allow us to connect.

 

Set in Carney's native home country of Dublin, Ireland, the film follows fiery, foul-mouthed Flora (Eve Hewson), a lively young mother struggling to make ends meet. Spirited but scattered, Flora's world has been reduced to fit inside a cramped apartment where she is raising her young, rebellious son Max (Orén Kinlon), and where the walls rattle from the daily shouting matches before Max storms off. Warned that his punkish behavior could land him in the court system, Flora happens upon a secondhand guitar, which she tunes and gifts to her son–to no effect.

As boredom sets in, Flora decides to learn guitar herself, signing up for online lessons where she meets upbeat, Los Angeles-based Jeff (Joseph Gordon Levitt). Drawn to her hilarious sense of humor and wry coaxing, the pair become closer, and soon Jeff is sharing original songs with Flora, which inspires her to do the same. Her newfound musical interest not only gives her an identity and sense of life purpose, but becomes a way for her to connect with Max who she learns has been producing hip-hop and electronic pop music. The more music Flora brings into her world, the deeper she connects to Max and Jeff. Life, however, can get in the way of even the best melodies, she soon discovers.

 

Fans of Carney's (like me) will recognize that while his films are unabashedly feel-good fun, his characters are charmingly defiant rebels whose artistic spirits bump them up against the system. Going back to his directorial debut and star-making arrival with 2007's Once, to 2013's Begin Again, and through 2016's Sing Street, Carney's characters are often scraping to get by, and nearly down for the count after suffering life's punches. That is, until they discover the literal music inside of them which allows them to express their inner truths and live their fullest lives.

 

https://www.youtube.com/watch?v=beNTTHnMIy8&ab_channel=AppleTV

 

Flora and Son is so delightful, funny, heartwarming, and charming. And yet, while I loved it so much, it's also not Carney's best film (that remains Once, with Sing Street quickly behind). For one thing, the film is quite contained. The choice to have Flora and Jeff's relationship defined over the computer brings about limitations (I'm sure it was a conscious decision to illustrate their distance, another pandemic-era effect). However, Carney still breathes creative life into these scenes by cleverly staging ways to bring the presence of Flora and Jeff into each other's intimate living space through their conversations, illustrating the intensity of their bond

 

But to review the film alone would be half-complete. Scored by John Carney and Gary Clark, the original songs are once again catchy, and moving. They have played in my head since I watched it, giving me chills as I bopped around in my seat during several of the catchy numbers. The songwriting might not reach the soaring highs of Once, or the unique synth energy of Sing Street, but songs like "Meet in the Middle" and "High Life" are fantastic and deserve to stand alone outside of the film.

 

Beyond John Carney's writing and direction, plus the wonderful songs, Flora and Son works because of its cast. Led by Eve Hewson, who embodies the main character of Flora amazingly, balancing her foul-mouthed toughness with a tender, funny, heartfelt spirit that also announces a star-making turn (she does have star-making charisma in her, being the daughter of Bono). Pairing well with her character is Orén Kinlon as her frustrated son Max. Jack Reynor pops up as Flora's former partner, Max's dad, in a shared custody situation. And rounding out the talent, Joseph Gordon-Levitt, as Jeff, brings his naturally warm-hearted self, along with musical chops, to pair well with Flora and give the movie its heart.

 

Flora and Son is a funny, heartfelt film, full of humor, heart, and infectious and emotional music. If this is your first start with John Carney, I'd recommend starting from the beginning and watching all his films. Through this cinematic journey, you might even discover the music that's inside of you.

 

1h 37m. Rated R for language throughout, sexual references, and brief drug use.


Ian McShane (Wilson) in Gonzalo López-Gallego’s AMERICAN STAR. Photo Credit: Courtesy of José David Montero. An IFC Films Release.

'American Star' Is a Sluggish Final Job For This Hitman

American Star centers around the suspenseful idea, "What if an assassin's final job didn't go according to plan?"

It's the same premise that David Fincher explored in last year's film The Killer. However, in that film's plot, an unsuccessful target hit forces Fincher's contract killer to run for his life, whereas, in American Star, the target simply never shows up. Instead of endangering this film's hitman, he is left to simply bask in the ambiance of the luxurious island he's on and do a whole lot of nothing. While this sets itself up for a compelling and meditative neo-noir, there isn't enough substance or compelling story under its moody surface to make American Star intriguing enough to invest in.

Read More: 'The Killer' Doesn't Aim Too High, But Hits Its Darkly Comical Mark

Ian McShane plays Wilson, a mysteriously silent assassin whose weathered face and steely reserve allude to having lived a long, hard life. His excellently tailored black suit is as out-of-place as he is on the beautiful island of Fuerteventura where he's landed. After a long trip, he heads directly to a home where he slips in unnoticed, expecting to see the face of someone he's only viewed from a photo inside a manila envelope: that of his target, who is luckily not there, as this is Wilson's "final job" and all. Unexpectedly, a younger woman suddenly slips into the house and takes a dip in the pool. After clocking her and assessing the situation, Wilson slips away back to his resort.

Now faced with the question of whether to leave or take in the pleasures of this idyllic island. Wilson decides to stay but without an agenda. He wanders around the island, taking in the hotel's buffet, the beautiful white-sanded beaches, and the local bar. And, wouldn't you know it, Wison even recognizes the bartender as the pool-dipping woman from the target's residence–Gloria (Nora Arnezeder), and they soon strike up a conversation and exchange contacts. Not too shortly after, Wilson's associate (Adam Nagaitis) arrives at the island as his backup and keeps him company until the target arrives.

 

https://www.youtube.com/watch?v=hb47dUzNUm4&ab_channel=IFCFilms

 

What does a lonely hitman with no other plans do while he waits, you might ask? In screenwriter Nacho Faerna's story, not very much. It's an alluring template for a story, putting a person with a complicated past in a new, unfamiliar location where they're forced to consider their life's decisions leading up to this moment. This premise reminds me of the masterful Sundown, in which Tim Roth goes on a vacation that he consciously decides to never return from. But where the revelations in Sundown made for a thrilling film, not much excitement happens in American Star. Director Gonzalo López-Gallego leans into the quiet, meditative neo-noir feel–complete with leveraging all of the noir-like tropes and characters–but throughout the film, I was largely waiting for something to happen.'

Read More: In Twist-Filled Drama 'Sundown,' Tim Roth Reveals His Shadow Self

A lot is demanded of someone to hold down a film while remaining largely this quiet, not to mention suggesting a person's backstory in their silence. In American Star, Ian McShane does so excellently, his face alone suggesting a complicated past and long life story. It's great to see him lead the film. However, without much story in the script, he can only hold the center for so long before his presence is just wasted. As the young woman he encounters, Nora Arnezeder is an alluring femme fatale type, however the suggested chemistry between them feels forced. When Gloria introduces Wilson to her mother (Fanny Ardant), it seems like they should have been a couple. There's a little boy Max (Oscar Coleman) who hangs around the hotel and nags at Wilson. The character was written to show he's a hitman with a heart, but the obviousness comes across as sappy.

 

The film culminates in a climactic, fate-filled end (which I won't spoil), but by then I wasn't very invested. The only interesting thing about the film is the offshore ghost ship that Gloria takes Wilson to, named the "American Star" (of which the film is named). It's a big hulking warship that's been sitting off the coast in the Atlantic for years. Wilson realizes that the ship is not much older than he is–just as it happens to sink into the ocean. While this seems to be a metaphor for his own life, it's the only moment that truly feels unexpected, and poetic. It's just too bad the film didn't explore this further.

 

1h 47m. Rated R for language and some bloody violence.


Adam Driver as Enzo Ferrari in 'Ferrari,' a film by Michael Mann. Photo courtesy of NEON

‘Ferrari’ Is Entertaining, Exhilarating, But Speeds at Surface Level

"Two objects cannot occupy the same point in space, at the same moment in time," says famed Italian automaker Enzo Ferrari in Michael Mann’s new biographical drama, Ferrari. While Ferrari’s words are spoken about car racing, they are also true about the larger forces that compete to edge out the other in his life; success and failure, happiness and heartbreak, and even life and death are consummate rivals that race to occupy the same spot in Ferrari’s world.

 

Set in the summer of 1957, Ferrari focuses its story on Enzo Ferrari (Adam Driver) at a pivotal crossroads in his life. We see early on that Ferrari–a former racecar driver himself–lives a life that’s colored by the loss of his young son, whom he grieves with the child’s mother, Laura (Penélope Cruz). It’s a loss that's ripped them apart, their relationship now comically and tragically disastrous, symbolized by their constant shouting matches that sometimes lead Laura to produce a handgun to illustrate the intensity of their fights.

Although their marriage is a sham, Enzo and Laura still need each other, as they both own majority stakes in the Ferrari company. It’s a predicament for Enzo, who would rather deal with matters on his own. To that end, we see just how private a man he is, choosing to wrestle with his demons in secrecy. The largest example is his secret relationship with Lina (Shailene Woodley), the “other woman” whom he shares a son with. Meanwhile, Enzo must hide that the Ferrari company is near bankruptcy. It leads him to bet the company and push his drivers to win the Mille Miglia, a 1,000-mile race across Italy which ends up having disastrous results.

 

Following the likes of the singularly titled Oppenheimer, Napoleon, and Maestro, Ferrari is the latest film of 2023 to tell the story of great, troubled men who were integral to history but lived complicated lives (often at the expense of their female partners). Here, director Michael Mann follows up such classics as 1995’s Heat and 1992’s The Last of the Mohicans–along with more recent films such as 2009’s Public Enemies and 2015’s Blackhat–with another successful film that I enjoyed seeing in theaters. The racing scenes are gripping, and the throttling engine roars make the hairs on the back of my neck stand up.

 

https://www.youtube.com/watch?v=8oOVNMjM1Jk&ab_channel=NEON

 

What’s more fascinating is that Michael Mann, at 80 years old, seems to be less interested in making an all-out action film, and instead more interested in turning the camera inward to investigate the interior life of a man who, after dedicating his life to his career and passion, realizes he can no longer outrun his grief and guilt nor the failings in his life that now consume him.

 

Based on the book Enzo Ferrari: The Man, The Cars, The Races, The Machine by Brock Yates, Troy Kennedy Martin’s script focuses on a fascinating time in Ferrari’s life when everything seemed to hit at once. The frankness of addressing infidelity and mortality is weighty, and we get a very vulnerable moment in time from this figure. However, the script and story feel a bit too slick and straightforward. Without much subtext, the dialogue and exposition are oftentimes left to fall flat enough that it feels like we’re sometimes amongst the pit crew, looking right under the popped-up hood to see all of the story's pistons and parts firing. Yet, it’s all so beautifully visualized that the film–set in 1950s Italy–is a dream to live in throughout its 2h 10m runtime. The film is also lushly photographed by Academy Award-winning Director of Photography Eric Messerschmidt (all the more impressive when you learn that he also photographed David Fincher’s The Killer which was released in the same year).

 

For all of its technical achievements, the film’s success comes down to its lead performances. Adam Driver brings depth to the lead character that conveys much more than the script even offers. And Penélope Cruz is beyond fantastic, stealing every scene she's in. Shailene Woodley feels like the out-of-place one here, but her character brings a softness that counters Laura’s fire. For being a story of highly famous Italian people, the film has an uphill battle to climb with how believable its actors' authentic Italian ethnicities can be. And although they never fully disappear into them, they bring an emotional authenticity that does a commanding job.

 

With its amazing visuals and incredible period piece production, along with exhilarating racing sequences, Michael Mann’s stirring character study of a tortured entrepreneur trying to outrace his demons is solidly built, even if fails to get past the surface emotionally.

2h 10m. Rated R for some violent content/graphic images, sexual content, and language.


Honey Head Films Bring Women's Stories To The Screen

Imagine you're someone whose passion lies in an industry that's beyond difficult to "make it" in. Moreover, imagine that it historically doesn't support the type of thing you want to create. And, imagine that its epicenter lies primarily across the country from where you live. Would you let that stop you from following your dream? Or would you confidently pursue your ambitions, no matter how challenging? If you're a filmmaker like Erika Arlee and Kristi Ray, the latter is exactly what you do.

North Carolina natives and filmmaking partners of Honey Head Films, Erika and Kristi, are shining examples of indie filmmakers who not only create but support female-focused films. In our exclusive, wide-ranging conversation, Erika and Kristi discuss their path in filmmaking, producing their latest film A Song for Imogene (which Erika wrote and directed, and Kristi Ray produced and starred in), creating their female-led production company, their lessons learned, and what all lies ahead for the filmmaking duo.

 

It's such a pleasure to meet you both, Erika and Kristi. What was the last great film you watched?

Erika: This is going to be a huge throwback, but I just watched Gone Girl for the first time recently and loved it. I started my career as a writer of fiction, so I am always excited by films that are based on books. There is something different - perhaps more intricate - about the weave of the storytelling. I’ve been a Gillian Flynn fan since I read Sharp Objects (which is now a miniseries starring Amy Adams), so it was no surprise that I enjoyed Gone Girl. I appreciate a film that keeps you guessing and a writer who is always one step ahead of her audience. That’s smart work. Flynn’s duality in both traditional literary fiction and screenwriting is something I have always aspired to. 

Kristi: Such a fun icebreaker. We started our festival run this summer with a World Premiere at Bentonville Film Fest. I haven’t gotten Fresh Kills out of my mind since. This was Jennifer Esposito’s directorial debut - a powerhouse female-centric story about the life and unspoken realities of the wife and two daughters of a Staten Island mob boss. The casting was phenomenal and the whole film and how it was made was incredibly inspiring. We were lucky to catch it the day after its Tribeca premiere and Jennifer, who also stars in the film, led a memorable Q&A.  I loved the similarities between this film and A Song for Imogene - both diving into the burden of expectations that mothers, daughters, and sisters bear and how women struggle to be everything to everyone all the time.

 

You're both native North Carolinians. What was life like growing up there for each of you?

Kristi: I love this question because it helps to unpack the layers of catharsis that went into making this feature. I spent my formative years down a dirt road off Hwy 17 East, in one of those drive-by Southern towns where people never really seem to leave. Getting out wasn’t easy or intuitive. At a very young age, I knew I would grow up to be an actress and started on stage at the community theater in maybe first or second grade. Being raised in a small town kept me grounded and I’m thankful for that. My grandparents had a huge garden on their property and we spent summers shucking corn, picking strawberries, and running through the sprinklers. We had a modest little house that backed up to a trailer park where my siblings and I shared a bedroom.

My blue-collar parents got married right out of high school and worked hard to try to give us opportunities that they didn’t have. I wasn’t raised to be an entrepreneur and had to figure out a lot of things on my own. As far back as I can remember I was always daydreaming of building a career in film in some other place other than where I was raised.  Part of what makes Imogene so special is that it pays homage to my upbringing in a very personal way. I never watched characters I could relate to on-screen as a young girl and I think our film does a very good job of remaining authentic to Eastern North Carolina and the working poor in these off-the-map places. 

 

Honey Head Films' Kristi Ray and Erika Arlee. Photo credit: Michael Mercer
“As writers, I think it’s our job to be vulnerable. To write from a place of what we know, and allow others to step into shoes that feel familiar, in one way or another,” says Erika Arlee. Pictured: Honey Head Films' Kristi Ray and Erika Arlee. Photo credit: Michael Mercer

 

Erika: I have always been a storyteller. Growing up, I was a voracious reader and journaled constantly. Sometimes the journal entries would become short stories, which eventually became plays that my sisters and I would put on at dinner parties, much to our parents' chagrin. We weren’t allowed to watch television, but both my mother and father were constantly filming home movies on our enormous VHS camcorder. We could watch the tapes whenever we wanted, and I remember being fascinated by the fact that I could see myself on screen, like an actor in a play or movie. It wasn’t long before I wanted to pick up the camcorder and observe the world through that medium.

I guess that’s what my childhood was: an experiment in observation. I have always been a highly observational and intuitive human since I was young. The first time I became fascinated by rural eastern North Carolina was through observation; every time I went home to visit my grammy and papa at my mother’s childhood home. I didn’t know it at the time, but that was the genesis of Imogene: the desire to explore the people in these forgotten places. To give their stories a chance to be told.

 

Erika, what were some of your earliest and most formative memories of watching movies? Which films and filmmakers were you drawn to growing up that shaped your cinematic worldview?

Erika: When we were allowed to watch movies, it was always the classics: Star Wars, Indiana Jones, Back to the Future, and The Sting. And of course, anything Disney. Epic tales. Class Spielberg and Lucas. The adventures and heroes' journeys. I loved being brought into a filmmaker’s world and bonding with my family over films. And once DVDs came out and they had a “special features” tab… that was it for me. I would just turn on a film to watch the “making of” or “behind the scenes” or “director’s commentary.” And this was as early as middle school.

 

“On weekends when I wasn’t working odd jobs to stay afloat, I was making short films with a group of friends. After a while, I decided I wanted to try writing and directing my own short.” Pictured: Erika Arlee directing a scene.
“On weekends when I wasn’t working odd jobs to stay afloat, I was making short films with a group of friends. After a while, I decided I wanted to try writing and directing my own short.” Pictured: Erika Arlee directing a scene. Photo credit: KatieMcTiernan

 

I was fascinated by the practical effects and how a director chose to tell a story: what to reveal to the audience and what to keep a secret. The fact that those films are still extremely popular today resonated with me. I understood that there must be some universal truth to them: something that can transcend generations and advancements in VFX. Even though Imogene is a gritty study of realism, I think the principles of storytelling that I gleaned from those classics growing up will always ring true, no matter the genre. 

 

When did you both get into filmmaking? And how did you both first meet?

Kristi: I left home at 17 and moved straight away to Los Angeles - thinking that was simply what you had to do to break into the industry.   I’m so thankful I was wrong. I was in a serious state of culture shock for some time and as my meager savings were dwindling, with no film credits to my name, I was hitting a wall getting my foot in the door. About a year later I fortunately found myself cast in the lead role in an indie feature shooting back home in North Carolina. At that point, I decided to put a few fake films on my resume so I could at least land an audition. Not my proudest moment, but it worked.

I remember being so humbled/nervous/excited stepping onto that film set for the first time - and realizing I didn’t even know what a mark was. I was hyper-aware of all that I had to learn and took that 21-day shoot as an opportunity to soak in not only what was expected of me as an actress but also to observe and respect the technical roles of crew members in every department. I fell in love with indie filmmaking on this fairly intimate set and realized then that I could make a career in the Southeast, a place where my soul felt its best. 

I traveled for the next 5 or 6 years working on indies and training at Lee Strasberg in NYC. At that time I was still supporting myself with random odd jobs - the kind you could quit without notice when you booked a movie. I ended up in Wilmington in late 2014 and met Erika through a Craigslist casting call for her earliest short film. She was the second female writer-director I had the opportunity to audition for and her screenplay was incredibly nuanced. At that point, I was exhausted by the one-dimensional characters I was going out for and wanted to be in her film. I had no idea that she was so green (or young!). We met on set the night before Day 1 and have been making female-centric narratives together ever since. 

 

"As writers, I think it’s our job to be vulnerable. To write from a place of what we know, and allow others to step into shoes that feel familiar, in one way or another," says Erika. Pictured: Erika Arlee and Kristi Ray, filmmakers and founders of Honey Head Films.
"As writers, I think it’s our job to be vulnerable. To write from a place of what we know, and allow others to step into shoes that feel familiar, in one way or another," says Erika. Pictured: Erika Arlee and Kristi Ray, filmmakers and founders of Honey Head Films. Photo credit: Katie McTiernan

 

Erika: I have always been a filmmaker at heart, but I didn’t realize it could be a career until I found my way into it. As a young twenty-something, I was primarily focused on acting, either for the stage or screen. I came out of college wanting to start my own theatrical production company, but I didn’t want to live in New York or Chicago. So I moved down to Wilmington to get a bit of a fresh start, and I got involved in local theater and film here. I was doing stand-in work, taking acting classes, and eventually landed an agent. I booked my very first audition, which was a day-player role for a major network show that was filming here at the time. That put my worldview into perspective.

Going on the lot at Screen Gems to get fitted, then showing up on location, seeing hundreds of crew running around, being shepherded to the HMU trailer, then to holding, then to set, where there was a huge dinner scene happening with about twelve cast members all in period costume… it was a lot. I had never seen anything like it. But what left the biggest impression on me was how stressed out everyone was: even angry at times. We were all doing something we had probably dreamed of since childhood, yet no one seemed happy to be there. Log that away for later after I meet Kristi and realize we’ve both had similar experiences with a broken system. 

On weekends when I wasn’t working odd jobs to stay afloat, I was making short films with a group of friends. After a while, I decided to try writing and directing my own short. It was a two-day shoot, all set in one location, where I could cook and host the cast/crew, as well as the production. Two of the five roles were already filled, and we had three more to cast. I put a casting call on Craigslist, and Kristi submitted for it. She was excellent, of course, so I cast her, and that’s kind of how it all got started. 

 

You both founded your production company, Honey Head Films, in 2016, with a mission to tell powerful, female-centric stories. How did you both decide that's what you wanted to focus your films and stories on telling?

Erika: Bringing it back around to the note I pinned in the earlier question: after Kristi and I met, we started putting each other on tape for auditions. It was through this process that we both realized how absurd the casting process can be. Kristi would pour her heart and soul into preparing an audition, only to get passed over for some model with many followers on social media. The superficial nature of the film industry can be soul-sucking, and if you’re only investing in one path forward, it gets discouraging pretty fast. Especially as a young woman reading one line for “Hot Girl” at the party. Or driving to Atlanta and back in a day for a callback for “Waitress.” It didn’t take long before we decided to “stick it to the man” and start making our movies. Gatekeeping be damned. 

And a huge part of that was giving women more depth: we were done with seeing women put into such limited, trope-y boxes: "the nagging wife," "the sex object," "the 26-year-old model playing a 17-year-old." And we wonder why young girls have body image issues and feel like they have to be people pleasers. Things needed to change. And it wasn’t going to change just by putting female characters in an executive suite or a superhero suit. By making them men. It was going to change by embracing all the ways women are dynamic and unique without men: putting those qualities on screen and creating compelling cinema around stories that explore the female experience. 

 

"The entire genesis of Honey Head began because of a lack of dynamic female characters and a subsequent lack of respect and space at the table for female voices in leadership in our industry," says Kristi. Pictured: Kristi Ray and Erika Arlee at Honey Head Films' office.
"The entire genesis of Honey Head began because of a lack of dynamic female characters and a subsequent lack of respect and space at the table for female voices in leadership in our industry," says Kristi. Pictured: Kristi Ray and Erika Arlee at Honey Head Films' office.

 

Kristi: I touched on this a bit in the last question, but to unpack it: the evolution of Honey Head has been incredibly organic. There was the intention behind the kinds of scripts we wanted to bring to life and the roles for females in them, but we founded the company as strong women who felt there was a better way to produce films. At a time when inclusivity, equality, and counter-culture environments were not necessarily valued in our industry, Honey Head stood for something fresh and different. 

Naturally, the characters were layered, multi-dimensional, and relatable - Erika can’t help but author empowering stories like that. With acting being my first love and Honey Head the catalyst to continue on that journey with more autonomy, Erika is constantly developing challenging characters for me to explore. What started as a group of women being their most authentic selves quickly attracted collaborators and clients who aligned with the brand we were building. In a way, everything unfolded fairly effortlessly - with a lot of hustle.

 

Erika, A Song for Imogene–which you wrote and directed–is your feature film debut. What was the process like for you seeing your vision come to life on the big screen?

Erika: Wow. This is a great question. Imogene started as a short film called Lorelei, which I wrote in 2015 for Kristi and myself to play sisters (at the time, I had cast myself as the character who is now "Janelle," and Kristi as the character who is now "Cheyenne"). It was the second short film I ever wrote, and it poured out of me: seven pages in one night and the script never changed after that. 

Developing the story into a feature was a different task. I had to figure out where the short narrative fell in the timeline of a full-length treatment, then reverse engineer the characters: their needs, desires, struggles, and triumphs. The film is highly personal, from the landscape to the struggle between Cheyenne and Alex. I had about 20 pages written for about half a year in 2019, but it wasn’t until 2020 when the world came to a screeching halt, that I was able to take a full week to sit down and pump out the rest of the first draft. It was rough, but it was a starting point. Over the next two years, I fine-tuned the story. To be honest, I was tweaking up until one of our producers told me I couldn’t anymore because we had to finalize the stripboard. The first day on set, when we got the picture up and I saw Kristi as Cheyenne for the first time, that was pure magic. It was happening! All that time spent financing, prepping, revising–all the false starts, the joy, and tears–had led to this moment. 

Celebrating our world premiere at Bentonville this past June was truly rewarding. And seeing the impact it has had, and the conversations it has started has made every tough moment worth it. Are there things I would change? Sure. Every project is a learning experience: a chance to hone your craft. I don’t know if I’ll ever be able to fully relax at a screening. But that just means you’re growing as an artist. 

 

https://www.youtube.com/watch?v=Xcd7C3q5CKo&ab_channel=HoneyHeadFilms

 

Kristi, not only do you play the film's lead, "Cheyenne," but you are also a producer of the movie. Can you talk about how you were able to do both jobs throughout production, and what challenges you faced?

Kristi: "Fix it in prep" is a mantra I live by as a producer. I knew this story and this character inside and out - Erika wrote the role for me back in 2015 shortly after we met when it was just a seven-page short film. "Cheyenne" has of course evolved throughout development, but I think what I love most about that process was how much of myself I was able to bring to the character with the final draft of the script. Playing the role came naturally to me; so aside from guitar lessons and learning to ride a motorcycle, most of my prep work came from the producing side. 

Erika and I had been developing this project for years and pushing through some form of financing, pitching, or pre-production for over two years by the time we stepped on set last June. It truly is our baby and I’m proud to have played a pivotal role in every stage of the process from script revisions to location scouting, building our crew, the website, the pitch materials to financing and securing an EP, all the way down to sourcing our wardrobe stock, making casting decisions and fine-tuning the budget and equipment lists. 

I had a goal to step away from logistics two weeks before principal photography. That didn’t happen, because: of indie film, but thanks to my amazing producing partners Michelle Roca and Andrea Nordgren, I was able to retreat into deep character prep about a week before cameras rolled. Since we had done such a thorough job in pre-production, things went very smoothly during our 21-day shooting schedule. I put out fires after wrap each day which sometimes was mentally exhausting because there were dozens of weighty scenes that required deep emotional vulnerability throughout the shooting schedule.

One thing I will say is that each crew member was hand-picked and departments were curated based on skillset, chemistry, and trust. I can’t stress enough how important it is to surround yourself with a passionate crew who you can be transparent and authentic with during your first time out on a feature. We hired on potential over-proof and assembled an amazing team and support system where each crew member felt deep ownership over the film. At the end of each day, people felt cherished and appreciated. That boost of morale goes a long way to mitigate inevitable stress on set. 

 

Erika, you've said that the character of "Cheyenne"–who struggles with being in an abusive relationship–is a character that is highly personal to both you and Kristi. You've also said that making the film was a cathartic process to heal from your own experiences dealing with coercive control. What was it like as an artist to need to be so vulnerable and honest in telling this story to share with audiences?

Erika: As writers, I think it’s our job to be vulnerable. To write from a place of what we know, and allow others to step into shoes that feel familiar, in one way or another. Domestic violence can take many forms. It’s not always physical. It can be financial control, emotional abuse, guilt-tripping, or gaslighting. Things that leave emotional scars that are easily hidden from the world. That was my experience. With my first partner, I truly loved, and then subsequent people after that. It’s hard to break the cycle once your perception of what love is has been so twisted. But I did finally break the cycle and learn to love myself again.

 

Kristi Ray as "Cheyenne" in 'A Song for Imogene,' a film by Erika Arlee.
Kristi Ray as "Cheyenne" in 'A Song for Imogene,' a film by Erika Arlee.

 

My hope for this story is it helps people who might be in danger of a partner escalating to see the warning signs. And for bystanders to recognize when someone close to them could be suffering in silence. It might be easy to say: why doesn’t she just leave? Well, it takes a victim an average of seven attempts to leave an abusive partner. The story is subtle. It’s realism. You can’t authentically connect with an audience and start important conversations unless you’re willing to be vulnerable. The number of people who have come up to us after a screening and shared tears or relayed a shift in perspective tells me this film is doing what it set out to do: one small step at a time. 

 

Kristi: It was a tremendously rewarding experience, and continues to be as we’ve started to share with audiences.  The script hits so close to home that even some bits of the dialogue are direct quotes that either Erika or myself have pulled from past relationships. I’ve personally broken each of the emotional chains that Cheyenne faces in this story in my real life and bringing that character work to set each day could have been a triggering experience.  Fortunately, there was a deep trust between myself and Erika - obviously, but also with my co-stars Haydn Winston and McKenzie Barwick.  These two incredible actors approached each scene with so much reverence that it was, for the most part, an empowering and comfortable environment to perform in.  We held closed sets when necessary and surrounded ourselves with sensitive artists who understood and respected the depth of the work. 

This was the story we needed to get out into the world and witnessing so many people relate to and empathize with these life-bruised characters and the subtleties of their struggles made the work purposeful and cathartic.  

 

The film was shot in North Carolina, where nearly the entire cast is from. Can you talk about how you found the cast, locations, what you wanted to emphasize about North Carolina, and what makes it so special to you?

Erika: Authenticity was incredibly important to the casting of this project. One of the reasons why I was hesitant to write the feature at first was because I wasn’t sure if we could find the right actor to play Alex. He needed not to come across as a one-dimensional antagonist. If he was easy to hate, then the audience would have no sympathy for Cheyenne, and we would lose them. Alex had to be complex, and manipulative not only to Cheyenne but to the viewer. That is a tricky thing to pull off, but when I saw Haydn act for the first time on the set of another project I was producing, I knew he could do it. From there, I wrote the character for Haydn, which I love doing as a writer. 

When it came time to cast Janelle, that was an open call. I had written the character in my voice since I played her in the short, but we didn’t have anyone in mind for the role. We had entertained the idea of casting a name actor as a way to bolster the marketability of the film and raise our chances of distribution on the back end. We sent a slate of actresses to a couple of different distributors, and they all came back as “not needle-movers.” Short of casting Brie Larson as "Janelle," it seemed like we were better off finding someone local to play the role. That also fits the story better.

Imagine how distracting it would be to be chugging along through this slow-burn indie drama set in the rural South, then suddenly Jennifer Lawrence appears. Honestly, once McKenzie submitted her tape, we knew she was Janelle. The character was in her bones, as a comedic actress and Southerner. The rest of the cast fell into place from there, and I am so glad to have such strong performances from talent who are part of the fabric of the setting. It makes the film immersive, and it gets that reaction from audiences when they say: “I know those people.”

Kristi Ray as "Cheyenne" in 'A Song for Imogene,' a film by Erika Arlee.
Kristi Ray as "Cheyenne" in 'A Song for Imogene,' a film by Erika Arlee.

Kristi: We had a unique experience casting the nuclear family and the film’s lead characters. It’s something that came together back in 2020 when we were pitching the project. Honey Head produced a three-minute proof of concept trailer to present to potential investors that showcased tone, pacing, and production value. Creatively it also served as an audition or mood board for various locations and actors and costuming choices.  When it came time to lock the cast for the feature film, we held multiple rounds of auditions for every character but Cheyenne and Alex - who Erika wrote specifically for Haydn and me. 

In the end, it was a big family reunion as the mother, sister, and nephew characters were all reprised by the original cast from 2020. It was crucial to both of us that the casting was authentic and we are very proud to tap into the deep talent pool in the Southeast while mixing in the right amount of non-actors and very green actors to the roster. It helps keep the film verite, the accents subtle and the faces interesting and real. I think that’s what was most important to us as filmmakers - that this piece felt like a true character study of the South and a raw exploration of an overlooked demographic with a powerful sense of place.  

Finding sets with built-in production design and convincing layers of real life was both economical and determining in pulling off this film. We had location owners who felt like family and were genuinely enthusiastic about hosting our film crew at their single wides and auto shops and grocery stores across multiple rural counties outside of Wilmington where the Honey Head production office and crew live. Commuting was essential to the schedule and something we weren’t willing to compromise on to keep the film as a direct reflection of the drive-by towns that inspired it. We’ve seen too many mainstream movies that create a caricature of “Southern culture” and so we strived to give voice to this part of our region without the threat of parody. 

 

How did making A Song For Imogene with such a large majority of women influence the movie, as well as yourselves as filmmakers?

Erika: Both women and men have connected with this story, but overall, it is women who have come to the forefront asking to be a part of this project – whether that was in prep, financing, crewing, or just helping spread the word. As a first-time director, I felt safe being on a team of women. Unfortunately, during my career as a short-form writer/director, I was often ignored or worked around by male department heads who felt they knew better than me. I knew my voice would be heard and the leadership environment wouldn’t be so cut-throat with more women around. Especially as indie makers, it’s important to have people at the helm who are emotionally intuitive and can problem-solve while keeping everyone’s perspective in mind. I think those skills are unique to women, and it is what has made Honey Head productions famously positive, pleasant, and great learning environments. 

 

Kristi Ray as "Cheyenne" in 'A Song for Imogene,' a film by Erika Arlee.
Kristi Ray as "Cheyenne" in 'A Song for Imogene,' a film by Erika Arlee.

 

Kristi: I echo Erika in all regards here. The entire genesis of Honey Head began because of a lack of dynamic female characters and a subsequent lack of respect and space at the table for female voices in leadership in our industry. Over the years we’ve learned powerful lessons of discernment around who we invite into the proverbial “Hive.” We were fortunate enough to find 8 incredibly supportive, talented, and passionate men who are feminists in their own right to balance the 20 strong women who rounded out this independent film crew. There’s something safe and empowering about having a 100% female above-the-line team producing this poignant film about women simply existing. 

We were never rushed, never dismissed, and were able to curate a protective environment for both the story, ourselves as creative women, and the young female interns and crew members invited to be a part of this production. I’m proud we were all able to grow and learn in an environment where women and men are equal, and happy to witness our handful of male crew members fully commit to bringing this film to life because they believed in the powerful story and the mission and culture of Honey Head. That kind of thing has ripple effects of energy and sets a positive precedent for what’s possible. 

 

What were some of the biggest unexpected challenges you faced making this film that first-time filmmakers should know?

Erika: Financing is always a challenge with indies, especially for first-time filmmakers. We ran into a lot of speed bumps on our journey to greenlighting the project. We even had an investor who we eventually had to part ways with because we found out he had brokered some shady deals in the past. That was a hard decision to make since he was promising to finance the remainder of our outstanding budget. But if it doesn’t feel right, you should always step away. Never make a business decision from a scarcity mindset. The right opportunity will present itself. 

From the other side of things, the choice to forego name talent for the sake of authenticity has also presented challenges in distribution. None that we can’t overcome, but it’s going to be a different path for us to prove the film’s worth, since we can’t slap Meryl Streep’s face on a poster and immediately have the golden ticket to every top-tier festival and overseas sales (no shade on Meryl, of course: she’s the queen). Names give you an easy “in,” so we have to figure out a different, more innovative way to get Imogene in front of audiences. For those going this route, prepare to get creative with your DIY distro plan.

 

Kristi: I still feel that pitching and financing this film (during the pandemic!) was one of the most difficult things I’ve had to navigate in my career. In hindsight, I can see that it was outside influences like pressure to meet a certain budget threshold or navigate expectations around pre-sales and distribution that slowed the process, inhibited our intuition, and created - perhaps - unnecessary roadblocks that could have been avoided.  In the end, we decided to do what was best for the film and with that, we created a beautiful, timeless piece of cinema in a tangible way that we’re all very proud of. If that had been the singular original goal, I think we may have saved ourselves some sleepless nights and moments of immense doubt. 

All in all, every hoop we jumped through has been a valuable learning experience and afforded us the necessary perspective, knowledge, and skills that we continue to utilize in this next chapter of scaling into the sophomore feature. However, if I had known we’d walk around the moon just to get out the back door to make an award-winning film and that we had it inside of us all along to do so, I would have trusted the process a little more. Realizing early on that making an excellent film isn’t “enough” - but then setting out to do it anyway - and throwing away all expectations of what happens next, that’s the biggest challenge and most valuable lesson I can share. 

 

"I think that’s every filmmaker’s dream, to have a stepping stone guiding you to the next chapter. We definitely haven’t taken the easy road, but the hope and the silver lining are revealing themselves," says Kristi. Pictured: Kristi Ray, Erika Arlee, and cast.
"I think that’s every filmmaker’s dream, to have a stepping stone guiding you to the next chapter. We haven’t taken the easy road, but the hope and the silver lining are revealing themselves," says Kristi. Pictured: Kristi Ray, Erika Arlee, and cast.

  

What do you hope to share with audiences about this film, and about where you, this film, and Honey Head Films are going next?

Erika: I truly believe we have made an excellent film with Imogene. It’s now our calling card: the project that we can show potential collaborators and financiers to prove we are capable of making quality cinema. The film has already opened doors for us that we never could have stepped through before. I am excited for the next chapter of Honey Head as not only a film production house but as an independent studio producing original work that continues to grow in scale. The next project in the works is a thriller, so very different from Imogene. It is exciting to have the opportunity to explore stories with more complex elements while remaining true to our mission to put dynamic women at the forefront of our films.

 

Kristi: In the current climate we’re facing in our industry with strikes and very real threats to the future of original cinema and how it’s consumed; it’s more important than ever to support small, meaningful films. Films without studio pressure to be this-or-that, but emotionally generous stories that evoke curiosity and empathy from their audiences. That’s what A Song For Imogene is, and what you’ll find at the core of every Honey Head film. We’ve always been in the business of breaking down barriers and bucking the system and I encourage viewers to seek out creative work from filmmakers like us who continue to do that. It’s like a commitment to “shop local” as much as possible - it benefits the creative economy and helps to bolster the careers of emerging talent. 

But it won’t be as easy or convenient as eating up whatever Netflix is spoon-feeding you this weekend. We’re currently navigating a festival run and distribution for this debut film and as Erika said, it has become a calling card for financing the next project - one that will scale 10x in budget, caliber, and concept. I think that’s every filmmaker’s dream, to have a stepping stone guiding you to the next chapter. We haven’t taken the easy road, but the hope and the silver lining are revealing themselves.

Visit www.honeyheadfilms.com for more as well as http://imogenemovie.com/ for updates on the the film and when you can stream it.


Joaquin Phoenix as Napoleon Bonaparte in 'Napoleon,' a film by Ridley Scott. Photo courtesy of Apple TV+

In ‘Napoleon,’ The Conquerer’s Complex Is Both Epic and Hilarious


With its incredible production design and extraordinarily staged battle sequences, Napoleon is as astounding and epic as movies get. At two-and-a-half hours long, you’re certainly going to get your money’s worth seeing director Ridley Scott’s newest film on the biggest screen possible. Its gigantic vision absolutely dominates this intended viewing format, which is fitting for the story of a man whose outsized ego drove him to try to take over the world.

Napoleon and his prideful ego are the main fascination in Ridley Scott’s epic film. The observation that the wannabe conqueror's famous inferiority complex was the motivation behind his brilliant military mind, also coincides with his laughably insecure stature behind castle doors. Embodying the titular character is Academy Award winner Joaquin Phoenix, who gives yet another iconic performance in a film that’s as visually extraordinary as it is comically hilarious.

Telling the sweeping story of Napoleon’s rise and fall, the film opens in revolution-era France, during the harrowing chaos in a town square where revolting citizens stuff the bourgeoisie into guillotines. It’s an unnerving sight for any politically motivated ruler, but not for Napoleon Bonaparte (Joaquin Phoenix), an army general on the rise, who recognizes the potential for a power grab.

Napoleon, we learn, is a revered military general of the French army with a shrewd understanding of strategy and war. In his first big battle, Napoleon leads a small but sizable troop in a surprise attack against an occupying British army; a fight in which he nervously (and comically) hyperventilates throughout, indicating his early lack of self-confidence. Barely prevailing, but still victorious, his win boosts his rank, reputation, and pride.

The film jumps ahead in time, plopping us into various historically important moments throughout (title cards keep the many dates, events, and characters clear for the audience). Perhaps the most pivotal life event is Napoleon meeting the woman who would be his biggest match, Josephine (Vanessa Kirby). Although Napoleon is powerful on the battlefield, Josephine proves to be more powerful in their intimate relationship. The film shows how Napoleon can lead thousands of men into victory in war, but struggles in his subservience to the woman he loves.

https://www.youtube.com/watch?v=1DJYiG6wh0w&ab_channel=SonyPicturesEntertainment

The dominant-subordinate relationship that plays out portrays Napoleon as his most self-effacing and insecure. And it is here that Phoenix and Kirby are phenomenal. Kirby is strong and unwavering, against Phoenix’s insecurities. The film alternates between the battlefield and the bedroom, and the dramatic bedroom scenes are captivating.

But of course, Napoleon must continue to conquer. While all of the battle sequences are incredible, the most astonishing one is set on a snowy ice lake that leads the enemy army to chilling graves. Ridley Scott, the visionary filmmaker behind such iconic films as Gladiator, Blade Runner, and Alien makes this set piece rival Game of Thrones

Napoleon reached his highest peak after these successful victories, leading to him being anointed the King of France. Of course, this is where things come crashing down. Life back home with Josephine goes south when the struggle to produce an heir arises. And after the change in fortune of wars, Napoleon soon finds himself ostracized by his country, leading to a spiral as he tries to take over the world, alone.

In the title role, Joaquin Phoenix delivers yet again and brings to life what is Napoleon’s tragic flaw: his insecurity. The amount of whining, pouting, and animalistic dialogue from his character had the theater erupting in laughter. Other performances of Phoenix came to mind, such as the helpless naive from The Master to the cackling livewire in Joker.

While it’s a fascinating vision and story to behold, Napoleon begins to lose steam as the film progresses. The story loses its captivation as it tries to shift back through love letters to a now estranged Napoleon and Josephine while marching his hungry army through the snow to their ultimate demise. By its end, we see the true tragedy of Napoleon’s life: that of a man who set out to conquer the unconquerable, while unable to see how ridiculous he looked while trying to do so.


Michael Fassbender in 'The Killer,' a film by David Fincher. Photo courtesy of Netflix

'The Killer' Doesn't Aim Too High, But Hits Its Darkly Comical Mark

Slightly unnervingly (though perhaps not coincidentally), throughout his career acclaimed director David Fincher has most often been compared to the same subject that he’s been most fixated on bringing to the big screen: a serial killer.

Looking at his decades-spanning filmography, this might be an uncomfortably easy comparison to make. Fetishistically-minded projects like 1995’s Se7en, 2007’s Zodiac, and 2017’s Netflix series Mindhunter all spotlight sadistically methodical madmen mutilating their victims.

Moreover, even subject matter aside, Fincher’s reported on-set work ethic is also understood to be nothing short of punishing, infamously requiring hundreds of takes from his actors. And then, of course, his distinctly recognizable visual style–chillingly composed shots striving for aesthetic perfection–also betrays his perverse goal for total control.

All of this leads to his new film, succinctly titled, The Killer. Which is once again, about a cold-blooded murderer. None of which, at this point in his career, is surprising. What is surprising, however, is how damn funny it is.

The Killer follows a contracted hitman (simply billed as “The Killer,” played by Michael Fassbender). Solitarily observing Parisian street life from an abandoned building's floor (an ode to Hitchcockian voyeurism), we not only see him cynically witnessing capitalistic society from up on high but also hearing his thoughts by way of a long-running inner monologue. He's clearly waiting for something–someone–and passes the time doing light yoga, listening to his Smiths-filled iPod (which becomes a hilarious long-running joke), and monitoring his FitBit heart monitor.

https://youtu.be/vs1epO_zLG8?si=fzaGV6bCv1xoIkJY

He's perfectly cool and calculated, up to the point where he has to engage his target. Unexpectedly–and hilariously–the hit does not go according to plan, setting off a series of events that flips his methodically precise world upside-down, and making him the next target.

If you’re waiting for where the aforementioned humor lies in all of this, it’s in all of these misfires. Fincher plays the game of “expectation versus reality” with total gallows-style humor, making for a sadistically funny film that follows. Based on the graphic novel of the same name, The Killer is adapted by Andrew Kevin Walker, who filters the dark events of a hitman on the run through a dry, darkly funny sensibility.

Chaptered by different characters that The Killer must visit in order to flee to safety (as well as ensure the safety of loved ones), the film has fun seeing The Killer's numerous identities, and travels to international locations, all in the pursuit of settling his score.

Michael Fassbender is absolutely perfect in the lead role, bringing a steady, unnerving energy to his character, while also playing the dark humor just right, too. He’s great in the physical part of the role, in which his robotic-like physicality lends itself to a crazy action scene that will definitely impress viewers. Fincher’s methodically funny plant-and-payoffs are exacted hilariously, proving they are a match made in hitman heaven.

The Killer is not David Fincher’s best film. But it also doesn’t feel like it really sets out to be. Perhaps he’s aware of the film’s “B-level” storyline and aware of its simple construction and ambition. Knowing its final viewing place is to be seen in homes (on Netflix), maybe that also brings a more “minor” quality to the film (watching it made me think about current-era Soderbergh films, which have also felt like works churned out for streaming platforms, of late). But to those ends, The Killer is still an edgy, depraved, and hilariously funny movie that will still surprise Fincher's faithful fans.